more tangos · the confusion. perhaps many milongas also came to be titled tangos for commercial...

More Tangos Milongas Habaneras

for guitar

Compiled and Edited by Matanya Ophee

With an Introduction by Analia Rego

Editions Orphée

Introduction

Al1 the works gathered in this anthology have one thing in common: the rhythmic cell, which the Cuban musicologist Argeliers Leon called "ritmo tango." Together with the origin of the word tango, this rhythm, r i within a measure of g; or the other variant ~'7 1 , has been linked to the black slaves in Arnerica in numerous historical and musicological investigations. The cross-pollination of the ritmo tango with European dances spawned several musical/choreographic species in America.

Habaneras, maxixes, candombes, cifras, estilos, milongas and Spanish tangos are some of the musical styles that coexisted in the Rio de la Plata region during the last decades of the nineteenth century, at a time when the tango rioplatensd was consolidat- ing itself as a new cultural expression, while still pre- serving the marked characteristics of its racially mixed origin. In the attempt to assign the tango rioplatense to one musical species or another, there has been much discussion about its role in the ancestry of the tango. Some of these theories were based on musicological and historical studies; others were based on arguments rooted in conjecture. What is certain is that by the end of the nineteenth century the tango rioplatense was already a Creole cultural product of popular origin with its own musical, choreographic and thematic qualities.

Although Buenos Aires was at that time a city with a majority of single men2 (a reality that gener- ated a flourishing prostitution business), the existence of both cheap and luxurious brothels as venues where the tango was played is nota convinc- ing foundation on which to maintain the widely dis- seminated theory that the tango originated in these establishments. This theory is based on the biased chronicles of the time, which, with their patent lack of objectivity, are often ridiculous and not often reliable. Perhaps the tango's original sin was its popular origin, at a time when the established cultural view associated the popular with the uncultured. Its other sin was, perhaps, the quebrada (broken) choreography," characteristic as attractive as it was scandalous.

Most of the tangos in this anthology correspond stylistically4 to the period that is known as the Guardia Vieja, which stretches from the beginning to the middle of the 1920's. The works composed

' . Rioplatense: an adjective designating that which belongs to the region of the Rio de la Plata.

'. Many immigrants, the majority being Italians and Span- iards, came to Buenos Aires alone until they made enough money for their families to join them.

". "Quebrada" (broken) alludes to the movement of the hips.

at this time were generally structured in three sections, less frequently in two, and rarely in four. The harmonic structure was usually founded on the basic chords of the key, with the secondary dominant being employed to generate tension. The change to neighboring keys when movingfrom one section to another was customary. The repetitions of the sections were alteriiated in varied ways, without a fixed order. The denominations of tango cri- 0110, tango milonga, Argentine tango, classic tango, and tango were used indiscriminately, without implying particular musical differences. Tangos with lyrics existed, and it was common to add verses to what were originally instrumental tangos. That was the case with Samuel Castriota's famous Lita ( i 9 15), known later as Mi noche triste, after Paschal Contursi wrote the lyr ic~.~ Because of its great impact, this was the first tango to be considered a tango cancibn, although it was nota strict example of one. Some scholars consider Enrique Delfino to have set the typical musical structure of the tango cancibn with his Milonguita (1920). This tango was represented in the singable line and the two-section structure in which the first section has the greater tension and rhythm while the second is more expansive and melodic. Based on these characteristics, four of the works published in this anthology exhibit the typical qualities of the tango cancibn: La copa del olvido, Cuando tu me quieras, Tiempos viejos and Purrete de mi amor:

With respect to the accompaniment, the traditional rhythmic ce11 of the tango cm0110 gradually changed until it became four eighth notes. This can be verified in some pre-i 920 recordings by the Edu- ardo Arolas orchestra. The tendency to accompany "in four" spread and became one of the fundamen- ta1 changes6 that finished shaping itself in the first years of the Guardia Nueva (1920-1940). Other modifications of the time were the reduction of three sections to two in most of the vocal as well as the instrumental works; the previously described development of the tango cancibn; the appearance

4. 1 am referring to the compositional style that is reflected in the scores, whose value in popular music is relative, pai-ticu- larly when comparing them with the phonographic recordings.

5. The poem that Contursi registered in ig i7 was titled Mal de ausencia. See: Hugo Lamas - Enrique Binda, El tango en lu sociedad portefia (1 880-1 920). Buenos Aires: Héctor Lorenzo Lucci Ediciones, 1998. p. 281.

6. This change was not reflected in the scores. The custom of writing the tango songs with the rhythmic ce11 of the tango cm'- ollo endured for a long time among some composers.

of the tango romanza; and the final shape of the was the property of the merchant Ramon Avelino - instrumental texture of the orquesta tipica. Cabezas and was completed in i 92 2. It was inaugu-

Thus far, we have observed the fundamental characteristics of the period to which the Rio de la Plata Tangos in this volume belong.

Several scholars have suggested that the milonga continued its life in the tango, the one becoming indistinct from the other. Nevertheless, these were affirmations based more on intuition than on fact. Amore exhaustive study revealed7 that even though the milonga was one of the musical species that were en u o p e arouild the time of the birth of the tango, it shares with the tango only a few traits, the displacement of accents and the broken style in its choreography, which soon became characteristics of the tango. The form and the structure of the milonga differ from those of the typical tango. Nevertheless, the affinity of some of their melodic characteristics was what probably caused the confusion. Perhaps many milongas also came to be titled tangos for commercial reasons. The milonga was, in principle, a lyrical species, acquir- ing its choreography after i 880. This led to the development of two types of milongas: the Sung and the danced. The latter could be both vocal or instrumental. This type was widely popular in the dance halls from the end of the nineteenth century, and its music also incorporated the typical sixteenth- eighth-sixteenth formula of the habanera and the tango. The danced milonga is usually associated with urban or suburban environs, being different iiî character from the rural milonga. Already at this time the word milonga could be Sound in the dictio- naries in its double meaning of dance and Song and was associated with popular culture. The present volume includes three milongas originally written for guitar. De la raza of Justo T. Morales, a typical example of the rural milonga with a descending melodic design over unfolding tonic and dominant chords. Aires populares Op. 1 by Mario Rodriguez Arenas resembles a chamarrita, a dance from the Argentine provinces of Corrientes and Entre Rios that dates from the second half of the nineteenth centuiy. El Paraho, subtitled by Antonio Sin8poli as "Motivo sobre la Milonga 'La Cumbre' Cbrdoba, Ano de 1926" is dedicated to the Cabezas family, illustrious residents of the La Cumbre, a locality in the province of C8rdoba. From the beginning of the twentieth century La Cumbre was the favorite vacation spot of several high societykgentine families. Today, several residences survive as witnesses to that time of splendor. One of them, El Paraiso,

'. See Jorge Novati - Inés Cuello, Antologi'u del Tango Rioplat- ense. Desde sus comienzos hasta 1920. 1 Primeras noticias y doc- umentos. Buenos Aires: Instituto Nacional de Musicologia Carlos Vega, 2002.

rated with al1 luxury, with draperies from India and Italian furniture made by the famous Maple firm of Buenos Aires, and a garden where flowers imported from England g r e ~ . ~ In 1969, the fainous Argen- tine writer Manuel Mujica Lainez acquired the large home as his residence. Nowadays it stands out as being one of the better-preserved museums of its type in Latin America.

The American tango had ample diffusion in Spain and America from the middle of the nineteenth century. This was one of the names that the Habanera acquired in Europe. The style became popular in Buenos Aires through the artists of the zarzuela companies. La cubana, subtitled "Danza Americana," is an original Habanera for guitar, that was technically accessible to the intermediate stu- dent. Its composer, Juliiin Arcas ( i 832- i 882), was an outstanding concert artist who enjoyed great popularity, with his most prolific activity occurring during the decade of the i 870s. The commentaries of his colleagues and the specialized press of the time gave testimony to his cai-eer. His art was known within the borders of Spain and beyond. On 29 October, i 862, the Brighton Guardian newspaper, dedicated an extensive, eloquent review to Arcas:

[...] It is nothing but the truth that in his hands the guitar becomes a miniature orchestra, for by his unexam- pled play he introduces a variety of tone which is a striking imitation of orchestral ensemble. [...] The ease of manner with which he goes through the performance is another ver- marked feature. [...]"

In i 870, after intense concert tours, he decided to settle down in Almeria. Years later he undertook a final tour during which he died of heart disease. According to Prat, Arcas had a decisive influence on Antonio Torres and his changes in the design of the guitar.

Domingo Prat ( i 886-1 944) is considered as one of the foremost teachers of the guitar in Latin America. After finishing his musical studies in the Municipal School of Music of Barcelona and, subsequently, his guitar studies with Miguel Llobet, he left Spain at the age of 21 to settle in Argentina. There he founded his Guitar Academy with several branches in Buenos Aires. He is the author of several didactic works, anthologies, transcriptions and

The lyrics of the tango A media luz by Donato y Lenzi allude to this famous Buenos Aires furniture firm: ..."p isito que puso Maple" [...a little floor that Maple put down.]

Quoted in: Javier Suarez-Pajares y Eusebio Rioja, El guitarrista Julian Arras (1 83 2-1 882). Una biografu documental. Insti- t u t ~ de Estudios Almerienses, Almeria: 2003. 1 am indebted to Julio Gimeno for his assistance in this matter.

original works that have been reprinted several times. His scholarly work is reflected in his Diccio- nario de Guitarristas, first published in Buenos Aires in 1934 by Romero and Fernandez.lo

Several passages in his work give testimony to his love for Argentina. Additionally, he created a considerable number of original compositions based on Argentine folklore as well as transcriptions of tangos of the Guardia Vieja.ll His Antillana, a beau- tiful Habanera, highly didactic in its inclusion of timbra1 resources (rasgueados, tamboras, harmonics) and clear indications of shading, color and changes in tempo, is published in this volume for the first time.

Federico Spreafico (1 87 1- 1958) belonged to a family of Italian-Argentine musicians. He was a violinist, guitarist, director and composer. He dedicated most of his compositions to the guitar, but also wrote several works for orchestra. He was a pupil of Juan Alais. Of his published works two Habaneras are known: Danza cubana and i A tisolita!, both included in this anthology. These works present a medium level of difficulty, like most of his works, a fact that contributed to their diffusion among the guitarists of that time.

In Brazil the label tango was given to a musical choreographic style influenced at its roots by the habanera, polka and lundfï. Later, this style acquired the name maxixe. According to Alvarenga, it was the first type of urban dance in Brazil.

The European Polka provided its movement; the Cuban habanera gave its rhythm; Afro-Brazilian popular music brought Our characteristic syncopation ... From the same three main sources, naturally, its choreography was born: the vivacity of the polka was allied with the flirtatiousness of the habanera and the lundu. The result was a sensual and very eloquent dance which the bourgeois halls repudiated for a long time as immoral and later accepted with reservations, although, before doing so, they forced it to acquire good manners.12

It also had quebrada choreography. The great composer of cariocal%axixe was Ernesto Naza- reth, although he called his compositions tangos. According to the Brazilian scholar Marcia Taborda, Mario Alvares' tango, Sertanejo, was composed under the influence of Nazareth's famous tango Brejeiro.14 Also known as Mario Cavaquinho, he was

I o Reprinted Columbus: Editions Orphée, i 986. l1 See Domingo Prat, Tangos de la Guardia Viqa, Columbus: Editions Orphée, 1995.

l 2 0. Alvarenga, Mzisica popular brusileria, México, FCE, i 947, cited in the Diccionario de la Musica Espafiola e Hispanoameri- cana. Sociedad General de Autores y Editores, 2002.

'Xarioca is an adjective referring to that which pertains to Rio de Janeiro.

an important figure in Brazilian popular music of the nineteenth century and the beginning of the twentieth. The introduction of the five-string cavaquinho with the D, B, G, D, G tuning is attributed to him. The exact date of his birth is unknown and it is believed that he passed away in Rio de Janeiro in i go5 or 1906. The word sertanejo alludes to the Brazilian gaucho. The rhythmic figure with syncopation on the first beat of the measure that is observed in practically the entire work is quite characteristic of the maxixe.

The melodic development, the predomiiîance of eighth note triplets, and the association with the rhythmic ce11 of the habanera in Tango Fatal presents a typical example of the tango espafiol. The tango written in Spain recognizes the American tango or the Cuban habanera as its ancestor. 1 have found no biographical data about its composer, A. Vidal, other than the mention of Alfonso Vidal as one of the important musicians in the difision of Spanish song in Argentina through the music hall. Daniel Fortea ( i 882- 1953), notable musician, ped- agogue and publisher arranged it for guitar and published it in his Biblioteca Fortea series in 1935.15 Ricardo Diaz Romero was an amateur guitarist who studied with Antonio Sinopoli in 1909. At the request of Domingo Prat, he contracted Miguel Llobet for his first tour of Argentina, which would soon extend to other countries of Arnerica and would be repeated several times. Romero dedicated his arrangements of the Colombian bambucos, Entre las pefias and Casta paloma, to Miguel Llobet.

Julio Salvador Sagreras ( i 879- i 942), the son and pupil of the Spanish guitarist Gaspar Sagreras, made an indispensable contribution as a concert artist, composer and guitar teacher. He trained many guitarists, among them Antonio Sinopoli, who was one of his outstanding students.

Sagreras developed his activity as a concert artist, appearing as a soloist beside his father, and also with Carlos Garcia Tolsa, Juan Alais, Antonio Giménez Manjon, ,4ntonio Sinopoli, Domingo Prat and his own daughter, Clelia. In i 905 he founded the SapasAcademy, one of the first institutes where the guitar was taught in Argentina. Additionally he founded the Association Guitarristica Argentina in i 934. He composed more than i 50 original works and transcriptions for the guitar, several sainetes (one act farces), songs for voice and guitar. His didactic work in six volumes, Lecciones de guitarra, originally published between 1922 and 1940 by

l4 Electronic mail to Matanya Ophee from Ms. Taborda, dated June, 2002 .

I5Editor's note: there does not seem to be any relationship between the Vidal-Fortea Tango Fatal and several other well- known tangos with the same title.

Ricordi Americana, as well the supplementary volume, Técnica superior de la guitarra, were translated into seven languages and reprinted many times.

Sagreras composed and transcribed several tangos,'Qhree of which, included in the present volume, were original works for the guitar, first published in Buenos Aires (c. 1920) by Francisco Nuiïez. The three works were dedicated to people in his circle, some of them mentioned by in Prat's Diccionario as being friends and admirers of Sagr- eras. El Andalux, op. 33, El Escandaloso, op. 121 and Don Julio, op. 125, which owes its title to Julio Mon- jeaux, friend and pupil to whom the work was dedicated. Two of these tangos (Don Julio and El Escandaloso) were mentioned in the Prat Diccionam'o, who says of them: "they evoke the Villalobos (sic) 'Choros' in the Brazilian style."

Mario Rodriguez Arenas ( i 879- i 949) had an outstanding career as guitar teacher, prolific composer, and arranger. He began his guitar studies with Angel del Valle, studied harmony with the Spanish composer Enrique Morera who lived for a time in Buenos Aires, and completed his training on his own. In 1907 he dedicated himself to edu- cation, an activity for which he was much in demand. La escuela de laguitarra, a work in seven volumes dedicated to his daughter, Elba, was published by Ricordi Americana in 1924 and is still in use. Additionally, he wrote a considerable number of original compositions and transcriptions for the gui tar.

Jesus Ventura was a theater conductor and composer. His tango A la gran mu6eca was composed for Miguel Osés' magazine and premiered by the Muiiïo-Alippi Company in the Buenos Aires The- ater in 1920. The tango is in three sections, adapt- ing Osés' verses to the second and third. The verses casts the story in a woman's voice; she invites her husband to return to her side after his lover leaves him: "...Te ha dejado, 10 sé, la malvada / y al calor de otros ojos se va [...] Volvé, jamas otras manos / cual las de tu mujercita / haran por la tardecita / los mates que cebo yo." (...She has left you, 1 know, the evildoer / and to the warmth of other eyes she goes [...] Come back, never will other hands / like those of your little woman / do in the early evening / the feats that 1 know how to do.) It is dedicated to the songwriter and actress Manolita Poli17, daughter of

Fifteen of them were collected in: Tangos, Milongas, Haban- eras. Columbus: Editions Orphée, 2000.

17 . Manolita Poli had an important career in the rioplatense theater. From the stage, she popularized several tangos, among then the renowned Mi noche triste by Samuel Castriota and Pascual Contursi. Domingo Prat's transcription was published in Tangos de la Guardia Vieja, Columbus: Editions Orphée, 1995, p. 9.

zarzueleros (Spanish Musical Theater players) parents, who performed it in the previously mentioned performance.

The present volume includes two tangos by the famous pianist and composer José Martinez ( i 890 - 1939). His active participation in integrating the main tanguer0 groups of the first decades of the twentieth century and in establishing their musical legacy brought him well-deserved fame. In 1905 he began to study the guitar on his own; three years later he began piano the same way. Oddly enough, there are only a few sound recordings his playing. In 1919- 1920 he recorded some discs for the Columbia label that were never re-released. His tangos La correntada (c. 1 9 13) and Canaro (c. i g i 5) are structured in the standard tango cri0110 form, with three sections of i 6 measures. The melody of Can- aro presents a common trait shared by many tangos of that time: the melody's strong points unfold over tonic and dominant chords in fundamental first or inversions. José Martinez dedicated his tango to the famous composer and Uruguayan director Fran- cisco Canaro, who was his friend and collaborator on numerous occasions and joined him in the first directorate of SADAIC.Is The transcriptions of Mario Rodriguez Arenas are based on the versions published for piano. He even transcribes the artic- ulations marked in the original score in Canaro's trio.

Another transcription by Rodriguez Arenas is the tango El chistoso (c. i g i 5) by Ruperto Leopoldo Thompson (? -ig25), a guitarist, double bass player and composer. The cover of the score for piano says: "Performed with great success by the famous Quartet 'La Armonia,"' the group in which the composer played the guitar. Later he changed his instrument to the double bass, perhaps because at that time the piano began to replace the guitar in the orquestas t@icas. As a double bass player, he played in the most important orchestras of the time, creating a school of his own, thanks to his facility in finding novel rhythmic resources on his instrument. The piano score of El chistoso has the charming subtitle "humorous tango."

Alberico Spatola (c. i 895- i 94 1 ) was a trum- peter, pianist, conductor, and composer. He belonged to a family of musicians who moved to Buenos Aires when he was a boy. In 1 9 13 he began his professional career at the Parisien Café. It was then he composed his Tango 13 for which Ange1 Villoldo would later write lyrics. He continued composing numbered tangos,'"ii?dependently of the

lu. SADAIC: Sociedad Argentins de Autores y Compositores (Argentine Society of Composers and Authors).

lY.The title Tango 13 refers to the year 191 3.

year in progress, some of them with subtitles. He also played iii several orchestras as pianist or trum- peter. In i g i 6 he played first trumpet in the orchestra that accompanied Enrico Caruso at his appearance in Tucumiin. Later he was assistant director and then director of the Police Band of Buenos Aires. Spfitola composed forty works, most of them tangos.

Sietepalabras (c. i g i 2 ) is a typical example of a traditional and popular melody, which has become a part of the collective cultural heritage. Several lyr- icists, among them Prudencio Aragon, Juan Maglio and Arnbrosio Radizani ( i 889- i 943) wrote lyrics to this tango. As often happened with other tangos, the original title of this tango was changed at the time of publication. The reason: raunchiness, a double entendre, a picaresque reference in its title, almost always referring to sex. Originally, the tango was known as Siete pulgadas (Seven Inches), a clear reference to the measurement of the penis. The cover of the score, designed by Radizani, shows seven women elegantly dressed, with amused expressions on their faces, as if observing something that has caught their attention. This would not mean anything, if they were not standing on a ruler that marks seven inches ... In this sense, the publishers were very ingenious and, in general, amusing enough at the time in designing the cover illustrations.

Juan Maglio (1 880 - i 934), also known by his nickname "Pacho," a fundamental figure in the his- tory of the tango, was a bandoneonist, conductor, and composer. His teachers were Luis Almeida and Domingo Santa Cruz, the latter being the composer of the famous tango Union CzVi~a.~~ Maglio began playing the bandoneon with i 3 tones and gradually progressed to the bandoneonwith 75 tones. He was the first bandoneonist who recorded solo perfor- mances on this instrument. His performed many times in the legendary cafes of Buenos Aires. The success of his live presentations earned him a con- tract with the Columbia label. At that point, his group was named Orquesta T$ica Criolla Juan Maglio "Pacho." He recorded more than go0 works throughout his career in addition to being a prolific composer. His orchestra recorded his tango Arme- nonville in i g i 2.21 Juan S. Balerio (an important publisher between i g i 2 and i g i 6) published the score, the title page of which shows a long automo- bile in front of the entrance of the famous night

20 Included in Tangos, Milongas, Habaneras. Columbus: Edi- tions Orphée, 2000, p. 12 " Columbia Recording No T 520, master 56606. This recording was included in the Antologia del tango Rioplatense, a collection re released on CD by the Instituto Nacional de Musico- logia Carlos Vega.

club-restaurant Armenonville. The subtitle tango brillanteis perhaps a charming allusion to the luxury and splendor of this venue where famous musicians performed. It is worth mentioning that this is where Carlos Gardel began his professional activity. The tango was dedicated "To the distinguished gentle- men Messrs. Loureiro and Lanzavechia" who were the owners of the club. Juan Maglio was an intimate friend of theirs and subsequently he would compose another tango, Royal Pigall, dedicated to another venue so named, which was also owned by his friends.

Another tango by Juan Maglio included in the present volume, is El Alerowhose title alludes to the lower part of the tile roof that protrudes from the wall. The cover of the original score for piano, published by Juan S. Balerio in 1913, shows a country home. As in other tangos, there is here a rather like- able subtitle-tango pajuerano. The term pajuerano, used in several South Arnerican countries, alludes to a person who comes from the country or from a small town and is ignorant of the customs of the city.

Adolfo V. Luna ( i 889- i 97 1 ) kept the original key of the work in his adaptation for the guitar. A concert artist, composer, and professor, he dedicated al1 his efforts to cultivating Argentine music with folkloric roots. According to Domiiigo Prat, he began his studies late with the "modest performer Camilo Castellanos," later moving to Buenos Aires with the purpose of perfecting himself. Prat comments in flattering fashion on several of his con- certs and his progress as a composer: in addition to writing more than fifty works for the guitar, he also composed for piano and even for orchestra. He obtained a high position in public administration for several years, thanks to the influence of his brother Pelagio Luna, who was vice-president of Argentina during Hipolito Irigoyen's first term.

Antonio Sinopoli ( i 878- i 964) began his guitar studies in the Academy of Fiiie Arts of Buenos Aires with Julio Sagreras, becoming one of his more outstanding students. In i 907 he set up his own academy together with his colleague Carlos Pallerano. In addition to his activities as an educator and concert artist, he began to compose after studying with Enrique Morera. In his Dictionary, Prat took pains to stress "the studious and untiring" temperament of this teacher. He gives testimony to the fact that SinOpoli composed a significant number of original works for guitar and also transcribed and/or fingered other works from various genres and styles, in addition to compiling an extended edition of the Aguado method and other didactic works. His transcription of El cuzquito byvicente Greco (c. i g i 7 ) , is respectful of the original for piano. Another transcription published by Ricordi exists

in which the introduction has notable changes in the rhythmic ce11 throughout the entire work, faith- fully transcribing, however, the rhythm of the melody.

Vicente Greco ( i 886- 1924) was a bandoneonist, director, and composer. The modest economic circuinstances of his family forced him to work from childhood; he was unable to graduate from primary school. When he discovered a small concertina in his parents' closet, he refused to part with it. According to Julio De Caro,22 he auditioned for Sebastian Ramos Mejia at the age of i 4, who advised the family to buy him a bandoneon. Several of his brothers were also musical. He was the author of several titles, still popular today, and recorded for Columbia Records in i g i o and i g i i and later for the Atlanta label. His orchestra was the first that called itself Orquesta Tz'pica Criolla when recording, in order to distinguish itself from other groups that performed non-Argentine popular music.

Justo Tom& Morales ( i 877- i 95 3) began as a self-taught guitarist, but soon had Alejandro Cesareo Pérez, Pedro Rubione, Mario Rodriguez Arenas, and Domingo Prat as his teachers. His musical personality blooms in his work as a composer dedicated to Argentine music. Domingo Prat praises many of his qualities: "Doubtless he is a tal- ent full of inspiration whose work will last, cele- brated in its folkloric pages, which he knows how to imbue with an unmistakable Argentine flavor." Morales was the author of more than one hundred works, of which fifty were published. He was an outstanding educator and was in demand by distinguished members of Buenos Aires society, while some of his compositions were performed by outstanding guitarists such as Maria Luisa Anido. His tango jTambién mi rancho se llueve!. . for guitar is composed in the style of the Guardia Vieja. With a little imagination, we can detect in the introduction and the overtones at the end of the two first sections a charming reference to raindrops falling on the roof of the farm.

Enrique Delfino ( i 895- i 967) was a remarkable pianist, composer, conductor and comedian. He composed more than two hundred tangos for films and plays. He made tours of several countries in Europe and America, appearing as an eccentric performer and comedian. In 1914, he was contracted by theVictor label to record piano solos and in 1920 to record in the United States, joining the pres tigious Orquesta Tz;liica Select along with Osvaldo Fresedo and Tito Rocatagliatta. He is considered the initiator of the tango romanza and one of the

great composers of the tango cancibn. He shares with other musicians like Juan Carlos Cobian, Julio and Francisco De Caro and Osvaldo Fresedo, a creative line of evolving tendencies that would gradually separate from the stylistic characteristics of the tango criollo and give birth to the movement that would be known as the Guardia Nueva. La copa del olvido, with lyrics by Alberto Vaccarezza -one of the most remarkable Argentine playwrights-is dedicated to Pascual Carcavallo, impresario of the National Theater, where this tango was premiered in i 92 1 as part of the work Cuando u n pobre se divi- mte. Biographical information about D. Gracia, the author of the transcription, does not seems to be available.

jQuépolvo con tanto viento!is the oldest tango cm'- 0110 (c. i 890) included in the present collection and is presumably based on traditional themes. It is structured in two sections, an uncommon trait of the tangos of that time. Of its author, Pedro M. Quijano ( i 875-?), we only know the facts given by Domingo Prat in his Diccionario. In i 887, he studied violin at the National Conservatory when it was under the direction Juan Gutiérrez. He used to fre- quent the meeting places of the musicians of the time. His contact with the payador (a wandering minstrel) Gabino Gardizabal excited him and inspired him to become a self-taught guitarist. Even in his youth, Quijano already worked as a teacher in private conservatories and in the homes of Buenos Aires high society. Prat comments that several of his works were most popular, among them this tango, describing his work as simple but rich in themes. He attributes the composer's popularity to the fact that people thought he was dead for twenty years. We do not know what motivated this belief.

Agesilao Ferrazano and Julio Pollero, both vio- linists, conductors and composers born in the last decade of the nineteenth century, formed in 1926 the ensemble La Tz'pica Fèrrazano-Pollero to record for the Victor label. Additionally, each of them joined several other orchestras. Together, they composed a few tangos, among them the most famous was Cuando tu me quieras ( i 926), with lyrics by Francisco Bohigas.*"he work is structured in two sections, the typical form of the "tango can- cion", and wr-itten in g , although it was usually performed in t . The transcription by Pedro Antonio Iparraguirre (1879-?) adheres closely to the piano score. According to Prat, this Argentine master transcribed a considerable number of works, over 300 of which were already in existence in 193 1. Between i 905 and i g i o, he also had his own pub-

22 Julio De Caro, El tango en mi5 recuerdos, Editorial Centuria, Buenos Aires.

'"An anthology was recorded by la Orquesta T$ica Victor in i 926, Disco Victor 7972 i-A.

lishing house. The present anthology includes four more works transcribed by Iparraguirre. El huérfano ( i 92 2) is a tango based on popular themes, among the first in a long list of hits composed by Anselmo Alfredo Aieta ( 1 896- i 964) with words by Fran- cisco Garcia Giménez. Aieta continued the style of composition of the Guardia Viqa, always adhering to the traditional currents of the tango, while at the same time incorporating new elements. He tells how he met Carlos Gardel, who would make this and others of his tangos famous: "1 played in the 'Casino Pigall' when a gentleman whom 1 did not know sent for me from a table. 1 had just finished playing the tango El Huérfano, of which 1 am the composer, and when 1 approached him and was invited to share his table. He introduced himself by saying: '1 am Carlos Gardel, my friend, and 1 am interested in singing that tango that 1 like very much. If you come tomorrow to the Glücksmann house 1 will record it immediately."'24 Aieta was a bandoneonist, conductor, and author of more than one hundred works based on different musical styles of Argentine folklore. Garcia Giménez' verses, written in the first person, tell of the sadness of a man who feels doubly orphaned, first by the loss of his mother and later by the loss of his beloved.

Another prolific author of tangos and other musical forms of the Rio de la Plata was the Uru- guayan violinist, composer, and conductor, Fran- cisco Canaro ( i 888- i 964). He was one of the most outstanding figures of the tango, reaching great popularity through his works, his orchestra, his recordings, his theater companies, and his tours, which took the music of Argentins al1 over South America, the United States, France, and Japan. It would require a long list to name the famous musicians and singers who appeared with his orchestra. "No one recorded more and there was a time when al1 the authors and composers looked for him so that he would record something of theirs [...] "25 He was a friend of Carlos Gardel, who recorded several of his compositions including his tangos iSufra! ( i 92 1 ) with verses byJuan Caruso and Tiempos Viejos (1926) with verses by Manuel R o m e r ~ , ~ ~ the original score ofwhich describes it as a "tango para canto y piano." Another of his tangos in a transcriptions by Iparraguirre included in the present anthology is the tango Mi esclava, by Juan Rodriguez ( i 895- 1928). As a pianist, he performed in the Augusto Berto and Juan Maglio orchestras, and a little later

founded his own, which brightened the evenings in several meeting spots of the time, among others the luxurious Armenonville. He trained at the Gaito conservatory in Buenos Aires and then swiftly completed his studies at the National Conservatory of Barcelona. As a composer, he has left us twenty pieces which were composed between 1 g i 7 and i 924. Mi esclava is dedicated to Trini Sanchez, a cel- ebrated artist of that time.

Raid de los Hoyos (1 902-?) was an outstanding composer. He was very much in demand with the impresarios for setting to music the tango lyrics that figured in their plays. His work is in the style of the tango cancibn, with its most outstanding characteristic being the elaboration of a singable melodic line. Bayon Herrera wrote the words for Purrete de mi amor; which describe in the first person the drama of a mother at the first anniversary of the death of her son.

El esquinazo (c. i go5), was one of the famous tangos by Angel Gregorio Viiloldo ( i 86 i - i g i 9). The popularity of this piece continues to the present day, next to El Chocld7 and El PorterZito. Villoldo was perhaps the most outstanding personality of the tango of the Guardia Vieja. His creative capacity seemed limitless: whether composing music, writing lyrics, playing the guitar, piano, and violin, or singing or dancing. He wrote in many different styles with incredible fluidity: he could be romantic as in Cantar eterno, arrogant as in El Portefiito, amusing as in La Bicicleta, a faithful chronicler of the times in Matufias, or raunchy if the occasion called for it. As if his gifts as a musician were not enough, he was also a circus performer and wrote for several newspapers of the time over the years under different pseudonyms. Significantly, his trip to Paris with the Gobbis in i go7 was a true cultural embassy where, in addition to recording, he gave lessons in dancing and playing the tango. He also published a "Modern American Method" for "learning to play the guitar by tablature, with no need of a teacher" and several original scores and transcriptions for guitar tablature.

Analia Rego Buenos Aires, August 2004

Translation by Carlos Barrientos October, 2004

24.Cited by Orlando del Greco in Carlos Gardely los autores desus canciones: Revista "Ahora", June 2 2, 1954.

'"Orlando del Greco, op. cit., p. 72.

26-Sufra was recorded by Gardel in 1922 and Tiempos Viejos in 27.1ncluded in Tangos, Milongas, Habaneras. Columbus: Edi- 1926, both with Ricardo and Barbieri on guitar. tions Orphée, 2000, p. 1.

Bibliography

Héctor Garcia Martinez, "Justo T. Morales. Una guitarra en la Memoria del Tiempo" in Cuadernos de Difusibn del Tango - N" 19. Crbnicas de Historiadores y Coleccionistas.

Antologia del Tango Rioplatense. Desde sus comienzos hasta 1920. Vol. 1. Institut0 Nacional de Musicologia "Carlos Vega." Buenos Aires, 2002.

Diccionario de la Musica Espafiola e Hispanoamem'cana. Madrid: Sociedad General de Autores y Editores, 2002.

Prat, Domingo. Diccionario biografico, bibliogrhfico, histbrico, critico de Guitarras (instrumentos afines), Guitarristas (pofesores, compositores, concertistas, lahudistas, amateurs. Guitarreros (luth- iers). Danzas y cantos. Terminologia. Buenos Aires: Romero y Fernandez, 1934. Reprinted by Editions Orphée, Colum- bus, 1986.

Antonio Mora Ayora. la Historia digital de la Salsa. www.radiorabel.com/libro, 1992.

Isabel Aretz. El folklore musical argentino. Buenos Aires: Ricordi Arnericana, i 952.

Enciclopédia da musica brasileira: erudita, folcl6rica e popular. Sao Paulo: Art Editora, 1977. www.re~vendomusi- cas.com.br

Francisco Herrera, Enciclopedia de la guitama. Marie1 Weber y Vincenzo Pocci

Orlando del Greco: Carlos Gardel y los autores de sus canciones. Buenos Aires: Ediciones Akian, i 990.

Pablo Kohan, Variantes y estilos compositivos en el tango de los afios 20. Unpublished. Buenos Aires: Quinta Conferencia de la AAM, 1991.

Acknowledgments

The publishers wish to thank Melanie Plesch and Vincenzo Pocci

for providing some of the tangos in this volume. Particular thanks to Randy Osborne for sharing with us a copy of

Pedro Quijano's tango iQue polvo con tanto Viento! Thanks to Bob Ashley, Analia Rego, and Eugene Braig IV for their expert proof reading, and

Eva Jaksch, Marcia Taborda, and Julio Gimeno for their assistance and advise. Our special gratitude is expressed here to

Mr. José M. L6pez de la Osa, director of the Biblioteca Fortea, for his permission to include in this volume the

Tango Fatal by A. Vidal, as arranged by Daniel Fortea.

à Don José Mungol

La Cubana Danza Arnericana

Edited by Matanya Ophee Julian Arcas @ - - - . - . - - - . - . - . - - - - . . . - - - - - - - - . - - - - - - . - - - - - - -

@ = D

Copyright O 2005 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. Al1 Rights Reserved.

Edited by Matanya Ophee

An tillana Habanera

Tempo di Habanera Domingo Prat ( 1886- 1944)

a tempo

II- _ _ _ _ _ _ _ _ ,

p staccato Y

cresc. 7 - v v v l

-. . - - - siempre a" ;

l Copyright O 2005 Editions Orphée, Inc., Columbus, OH, 3235

PWYS-65 International Copyright Secured. Made in U.S.A. Al1 Rights d eserved.

- w Tambor c l _ _ _ _ _ . _ _ _ _ _ . _ . . . . _ _ _ _ _ _ _ _ . _ _ .

A mi estimado amigo D. Miguel Vade11

El Andaluz Edited by Matanya Ophee Tango clasico Julio S. Sagreras

arm. XII

Gr' Y Y U

u Y Y Copyright O 2005 Editions Orphée, Inc., Columbus, OH, 43235

International Copyright Secured. Made in U.S.A. Al1 Rights Reserved.

v _ . - - - - . - - - - - , III ____.._..__-_--____, v L -

Edited by Matanya Ophee

Dedicado al distinguido aficionado Casimiro Cousirat

El Escandaloso Tango Cri0110 Julio S. Sagreras


Armenonville Tango brilliante

Arranged for guitar by Mario Rodriguez Arenas Juan Maglio Edited by Matanya ophee


- --- III

I _ - _ - - _ _ _ - _ . II. _ _ _ _ . _ _ _ . _ _ _ ,

D.C. al Fin

Sie te Palabras Arranged for guitar by Mario Rodriguez Arenas Edited by Matanya Ophee

VIL _ . . _ _ - ,,, - 7 7 7

Ambrosio Radizani


Arranged by Antonio Sinopoli Edited by Matanya Ophee

Sertanei O J

Tango brasilero

D.C. da1 al Fin

Mario Alvares

IX ----___, VIII-_, I X - - - - - - - - - - , IV ._____.3 III _...._7


esi IX __.._._7 VI _._._____._____._______. I X - - - - - - 7 VIL . . _ _ _ _ _ _ _ 3 7 C -4

LI-

Il. VII,

Tango Fatal Arranged by Daniel Fortea Edited by Matanya Ophee

Allegretto A. Vidal (?)


Al sefior Lorenzo Labat y su senorita hija, Lucia Labat, mi excelente alumna.

De La Raza Edited by Matanya Ophee

Allegretto moderato Milonga

Justo T. Morales

1 1 A A

On second repeat:

1 1

ten. v__~______.______. . . - - - - - - . - . - - - - - - - - . . . - - - - - . . . - . - - . - . - - a m i a a m i a


a m i a I V _ _ _ _ _ _ _ . _ . _ . _ _

original: @hl

A mi distinguido amigo el eminente guitarrista Miguel Llobet

Entre las Pefias Barnbuco colornbiano hranged for giiitar Edited by Matanya Ophee , A - Ricardo Diaz Romero


A mi distinguido amigo el eminente guitarrista Miguel Llobet

Casta Pa1om.a Edited by Matanya Ophee

Bambuco colombiano

? 2 ? 1

Arranged for guitar by Ricardo Diaz Romero

Al distinguido facultativo Doctor Vicente Novaro. - Muy afectuosamente

iTambién mi rancho se llueve!. .. Edited by Matanya Ophee

Lento -

Tango Justo T. Morales m

Introduction

Tango


15

I I . VII_____.__.____.__.-----J 8 v a - - - . . F

1 Para semir 1 IPara FIN 1

ten. i

A la gran Muiïeca Tango

Arranged for guitar by M. Rodriguez Arenas Edited by Matanya Ophee

I X . _ ~ _ . _ . - _ _ _ _ _ V I I _ _ _ _ _ _ . - - _ - - - - - v ._--_.---

Jesus Ven tura

I X ~ _ _ . . _ - . _ _ - _ _ -

VIL _ _ _ - _ . _ _ ., v.___.__..___.____-.-. . .----. .---. .- .7 v _ _ . _ _ _ _ _ _


- VIL _ _ _ - - _ . _ _ ,

La Copa del Olvido Arranged for guitar by D. Gracia Tango Canci6n Edited bv Matanva O ~ h e e

Enrique Delfino 1 1 1

III

v

v . _ _ _ _ _ _ _ _ _ _ _ . _ . _ _ _ - - - . 7 Il.


IIL _. _ _ _ _ _ ,

Coda

A Don Ramon Cabezas y Seiïora Dona Rosario P. de Cabezas y a su hijo Jaime

El Paraiso Edited by Matanya Ophee

Motivo sobre la Milonga "La Cumbre", Cordoba, Aiïo de i 926 Antonio Sinopoli

- O Copyright O zoo5 Editions Orphée, Inc., Columbus, OH, 43235


A mi distinguido discipulo Dr. Alejandro Zaldarriaga

i Que polvo con tanto viento! Edited by Matanya Ophee Pedro M. Quijano


"Cuando tu me Quieras" Arranwd for miitar hv Perlrc - - - - - - - ,- - _-. ,-.-__.. -, - J A. Iparraguirre Ferrazzano - Pollero

u Copyright O 2005 Editions Orphée, Inc., Columbus, OH, 43235


IL.. _.

Arranged for guitar by Pedro A. Iparraguirre Edited by Matanya Ophee Alfredo Anselmo Aieta

II ___.__.___, III __..__.__, ( 1896- 1964)

Copyright O 2005 Editions Orphée, Inc., Columbus, OH, 43235 PWYS-65 International Copyright Secured. Made in U.S.A. Al1 Rights Reserved.

El canto sobre@----------

A mi estimado amigo y distinguido discipulo Seiior Fermin Brown

Canaro Arranged for guitar by Mario Rodriguez Arenas José Martinez Edited by Matanya ophee

@ = D

1 . 2 . 1 m a r n a


> > . . . . ' .

Trio

Danza Cubana Edited by Matanya Ophee a Federico Spreafico

ten.

ten. h

largo el bajo w

*) A11 harmonics here sound an octave higher.


arm XII

arm XII Da1 % sino$ y sigue Orm XII

A mi querido amigo y discipulo Julio Monjeaux

Edited b y Matanya Ophee Don Julio Julio S. Sagreras Tango Criollo

TT

Copyright O 2005 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. Al1 Kights Reserved.

- -- - - - F 7' ;;-i XF. Y T' = y = 7' FIN

ïT ïT l 1 I r '

VIIL . . _ _ _ . _ . . _ . V V n - m v- _ _ _ _ . _ _ . _ _ _

1 - IIL .._.___._____.__----.--...-.-..---l

A mi distinguido amigo Ruben Machado

El Alero Arrai~ged for guitar by Adolfo V. Luna Tango Paiuerano Edited by Matanya Ophee Juan Maglio

TT


VIL _ _ _ . . _ _ _ . . .

D. C. tutto.

PWYS-65

!;a y -. . - -


Trio

El Cuzquito Arranged for guitar by Antonio Sinopoli s an& Edited by Matanya Ophee VIL ---------.._......-..-

Vicente Greco

II- - - . . _ - - - -

Copyright O 2005 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. Al1 Rights Resenled.

El Chistoso Arranged for guitar by Mario Rodriguez Arenas Edited by Matanya Ophee

IV_ .__ ._ . . ___ ._ . Ruperto Thompson

Copyriglit O 2005 Editions Orphée, Inc., Columbus, OH, 43235 International Copyright Secured. Made in U.S.A. Al1 Rights Reserved.

Trio

v.__._.___._.__ VIIL -

A la distinguida di le t~nte Sta. Charito Achenbach

Edited by Matanya Ophee Lento quasi a piacere

A ti solita! ... Habanera

Federico Spreafico

In tro.

v.__.......__

poco rit. ed espres.

Copyright O 2005 Editions Orphée, Inc., Columbus, OH, 43233 International Copyright Secured. Made in U.S.A. Al1 Rights Reserved. D. C. la Habanera

A la distinguida diletarite Sta. Charito Achenbach

Edited by Matanya Ophee Lento quasi a piacere

A ti solita! ... Habanera

1 Guitar 1 1 Federico Spreafico

Habanera

In tro.

D u r a tempo

r r v frFinc, D. C. la Habanera

Copyi-iqht O 2005 Editions Orphée, Inc., Columbus, OH, 43235 1nternati6nal Copyi-ight Secured. Made in U.S.A. Al1 Rights Reserved.

La Correntada Arranged for guitar by Mario Rodriguez Arenas Edited 1 " a-' - n 1- . .

José Martinez Arranged for guitar by Mario Rodriguez Arenas José Martinez Edited by Matanya Ophee

VIL . _ _ _ _ . _ _


A mi estimado amigo y discipulo Doctor Armando Fourcade

Tango Criollo Arranged for guitar by Mario Rodriguez Arenas Alberico Spfitola

T TT V I

Edited by Matanya Ophee > >

@ = D

I I . 12.

arm. XII


El Esquinazo I

Transcribed for guitar by C. Bono Tango Milonga Edited by Matanya Ophee Anqel G. Villoldo

V I L - _ - _ - _ . _ . . _ _ . _ . . _ _ . _ : : _ _ _ _ _ _ . . . . _ .

@ = D

- - - - - - - - - - - - -

Copyright O 2005 Editions Orplibe, Tnc., Colilrnbils, OH, 43235 International Copyriglit Secilred. Made in U.S.A. All Kights Reserved.

TTT

Aires Populares Op. 1 Edited by Matanya Ophee

Allegro Moderato Milonga Mario Rodrigixez Arenas

Copyright O 200; Editioris Orphbe, Inc., Columbus, OH, 43235 International C:opyriglit Seciired. Made in U.S.A. Al1 Rights Reserved.

Arranged by Pedro A. Iparraguirre Edited by Matanya Ophee

Sufra Francisco Canaro


u VIL. _. .

"Purrete de mi amor"


Tiempos Viejos Arranged for guitar by Pedro A. Iparraguirre Edited by Matanya Ophee Francisco Canaro

IIL _ - - _ _ _ _ _ - ,


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